Method and system for preserving the creative intent within a motion picture production chain

ABSTRACT

A method for communicating and preserving creative intent within a motion picture production chain, including a production stage, and at least one of a subsequent laboratory or post production stage, including capturing an original image of a scene during the production stage; generating a look representative of a creative intent, wherein the look is a digital representation of a creative alteration of the captured original scene image; and applying the look to the captured original scene image and confirming approval of the look during the production stage. The digital representation of the look is stored as a recipe for generating the creative alteration, and communicated from the production stage to at least one of the subsequent laboratory and post-production stages for applying the look to the captured motion picture footage during subsequent laboratory and post-production stages.

FIELD OF THE INVENTION

The invention relates generally to the field of motion pictureproduction, and in particular to effectively providing a communicationtool for usage throughout the imaging chain that relates to transferringcreative intent. More specifically, the invention relates to a creativeintent recipe for maintaining a cinematographer's look and feel for amotion picture.

BACKGROUND OF THE INVENTION

A motion picture production, either a commercial, television show or atheatrical movie starts with a creative intent by a cinematographer(and/or director and/or other people involved in the creative intent)for an overall “look” for the project and its incorporation throughouteach scene.

This “look” can be the creation of a single individual, such as thecinematographer or it can be a collaborative creation of a few orseveral people. If there is more than one person, the task ofcommunicating the creative intent to everyone becomes a problem. Mostoften, the best way to communicate the creative intent is by creating animage for sharing and discussing. This enables actual viewing of theimage without relying solely on ambiguous words to describe the image.U.S. Pat. No. 6,122,006 issued to Bogdanowicz et al. on Sep. 19, 2000discloses the creation of a “look” and creation of a printed image tocommunicate the creative intent.

However, the task of maintaining the “look” does not stop with thecinematographer. In a modern motion picture the film element is exposed,developed by a laboratory, and sometimes printed onto a motion pictureprint stock for projection. In the laboratory there are usually manychoices in processing and various techniques to alter the photographicimage. A communication link must be established between thecinematographer and the laboratory to continue the evolution of thecreative intent of the image.

Currently, most motion pictures have special effects added in at apost-production facility. These special effects can be quite elaborateand intricate However, more and more motion picture productions arescanning in an entire film project to a digital intermediate (also knownas a digital master), which can be altered in a digital-to-digital suitewhere global, and local color and tone scale changes are introduced. Ifthe originators/creators of the “look” are not present in thepost-production house, the “look” may be compromised by otherindividuals taste or ideas. Further, if an overall “look” is to beapplied to the project on a scene-by-scene basis, a colorist (i.e., theperson running the digital equipment) needs to try to apply the lookconsistently across the project.

PROBLEM TO BE SOLVED BY THE INVENTION

Communication of the “look” throughout the motion picture productionchain is advantageous for cinematographic consistency. Thecinematographer is able to assume that the “look” will be correct andconsistent from scene-to-scene. And yet, in post-production there arenumerous degrees of freedom to change the image. A cinematographercannot anticipate or influence the look that may be applied in alaboratory or postproduction facility. Additionally, in thepostproduction facility, the application of the “look” can be alaborious process on a scene-by-scene basis. Furthermore, specificdigital manipulation controls may not be robust throughout the entiredynamic range and may introduce artifacts or be unattainable with theirinstrumentation.

Also, an image can be altered by a 3D LUT (3-dimensional look-up table)to provide a “look”, but the normal process for producing a 3D LUT is toempirically measure a small set of image patches and use the resultingdata to interpolate a 3D LUT. This method is inherently error prone andits effectiveness is limited to the chosen measured data. In thelaboratory, alternative processes can introduce a time consuming andcostly testing phase before principle camera work starts. Usually the“look” that these alternative processes impart on the image is revealedonly after physical testing.

What is needed is a method and system for communicating the creativeintent of the “look” to directors, producers, wardrobe, writers,laboratory personnel, colorists, clients and executives associated withthe motion picture production.

SUMMARY OF THE INVENTION

The present invention is directed to overcoming one or more of theproblems set forth above. Briefly summarized, one aspect of the presentinvention provides a method for communicating and preserving creativeintent within a motion picture production chain, including a productionstage, and at least one of a subsequent laboratory or post productionstage, including capturing an original image or sequence of images of ascene during the production stage; generating a look representative of acreative intent, wherein the look is a digital representation of acreative alteration of the captured original scene image; and applyingthe look to the captured original scene image and confirming approval ofthe look during the production stage. The digital representation of thelook is stored as a recipe for generating the creative alteration, andcommunicated from the production stage to at least one of the subsequentlaboratory and postproduction stages for applying the look to thecaptured motion picture footage during subsequent laboratory andpostproduction stages.

ADVANTAGEOUS EFFECT OF THE INVENTION

The present invention generates an image and produces a 3D LUT to applya creative “look” to an image or stream of images (i.e., a scene). Thepresent invention allows a cinematographer to capture (or input) animage either with a digital camera, scanned film or CGI (ComputerGenerated Image) and further alter the image by choosing alternativefilm stocks, processing, filters, color timing, telecine controls andother changes to the image. The representation of the changes can besaved and distributed as a “recipe” which can be sent to remote sitesand loaded into the system to display the “look” the originatorsintended at an office (i.e., director, producer, etc.), laboratory orpost production house. The digital display devices are also duallycalibrated, first to a standard position (with regards to thebrightness, black level, tone scale and white color balance), next toemulate a photographic motion picture print material projected in adarkened surround. This display device calibration ensures that peopleviewing the images remotely are seeing the same image with the “look”incorporated therein. The recipe can be global to the production or on ascene-to-scene basis.

Furthermore, the present invention enables a post-production person togenerate, from the recipe, an entity, such as a three dimensional lookuptable (3D LUT), which can be applied to a digitally scanned product,either in software or hardware. This 3D LUT will embody the “look”. Thesecond part of the display calibration is a unique 3D LUT that emulatesa particular print stock on a particular display device, such as a HDMonitor or a digital projector. The present invention uses this unique3D LUT for the device to display the image, which includes thecharacteristics of the device, tone scale, color primaries or dye set(if the display device is a film print). For immediate display therecipe-created look 3D LUT (“look 3D LUT”) is combined with thedevice-dependent 3D LUT (“device 3D LUT”) to create a new 3D LUT(“display 3D LUT”), which will display the “look” on a specific devicewithout altering the original data. The original data is maintained andtransformations are applied in a forward manner, thus ensuring thatthere is no loss to the original data.

BRIEF DESCRIPTION OF THE DRAWINGS

The above and other objects, features, and advantages of the presentinvention will become more apparent when taken in conjunction with thefollowing description and drawings wherein identical reference numeralshave been used, where possible, to designate identical features that arecommon to the figures, and wherein:

FIG. 1 is a block diagram showing a look management system, includinginput sources, look management engine, and output sources.

FIG. 2 is a block diagram of one embodiment of a software system toimplement a look management system which generates a script from userinput and executes that script by a processing engine.

FIG. 3 is a flow of 3D LUTs possible through the look management system.

FIG. 4 is a flow diagram of the mathematical implementation of therecipe in this look management system.

FIG. 5 is a diagram of one use of the look management system inpre-production and production.

FIG. 6 is a flow diagram of one way the look management system can beused as a subsystem in the laboratory post-production chain.

FIG. 7 is a flow diagram of one way the look management system can beused as a subsystem in the digital post-production house.

FIG. 8 is flow diagram of another way the look management system can beused as a subsystem in the digital post-production house.

To facilitate understanding, identical reference numerals have beenused, where possible, to designate identical elements that are common tothe figures.

DETAILED DESCRIPTION OF THE INVENTION

In the following description, at least one embodiment of the presentinvention will be described as a software program. Those skilled in theart will readily recognize that the equivalent of such software may alsobe constructed in hardware. Because image manipulation algorithms andsystems are well known, the present description will be directed inparticular to algorithms and systems forming part of, or cooperatingmore directly with, the method in accordance with the present invention.Other aspects of such algorithms and systems, and hardware and/orsoftware for producing and otherwise processing the image signalsinvolved therewith, not specifically shown or described herein may beselected from such systems, algorithms, components, and elements knownin the art. Given the description as set forth in the followingspecification, all software implementation thereof is conventional andwithin the ordinary skill in such arts.

The computer program may be stored in a computer readable storagemedium, which may comprise, for example, magnetic storage media such asa magnetic disk (such as a floppy disk) or magnetic tape; opticalstorage media such as an optical disc, optical tape, or machine readablebar code; solid state electronic storage devices such as random accessmemory (RAM), or read only memory (ROM); or any other physical device ormedium employed to store a computer program. The present invention canbe performed on any well-known computer system, such as a personalcomputer.

The present invention can generate an image and produce a 3D LUT toapply a creative “look” to an image or stream of images (i.e., a scene).The present invention allows a cinematographer to capture (or input) animage, either with a digital camera, scanned film or a computergenerated image (CGI); and alter the image by choosing alternative filmstocks, processing, filters, color timing, telecine controls or otherimage modifying processes. A representation of the changes can be savedand distributed as a “recipe” which can be sent to remote sites andloaded into a look management system to display the “look” theoriginators/creators (e.g., a director, a producer, etc.) intended at anoffice, laboratory or post-production house. To maintain the look,display devices are dually calibrated. A first calibration calibratesthe display device to a standard position (with regards to brightness,black levels, tone scale and white color balance). A second calibrationenables the look management system to emulate a photographic motionpicture print material, as it would be projected in darkenedsurroundings or a dim surround if the final project is intended to bedelivered for standard or high definition television. This displaydevice calibration ensures that viewers remotely viewing the images are“seeing” the same image. The recipe, itself, can be global to theproduction or on a scene-by-scene basis.

Moreover, the look management system at the post-production house cangenerate from the recipe an entity such as a three-dimensional lookuptable (3D LUT), which can be applied either in software or hardware tothe motion picture project. This 3D LUT will embody the “look”, and isherein referred to as “look 3D LUT”. The second part of the displaycalibration is a second 3D LUT that uniquely emulates a particular printstock on a particular display device, such as a high definition monitoror a digital projector. The present invention uses this unique second 3DLUT for the device, which includes the characteristics of the device,tone scale, color primaries or dye set (if the display device is a filmprint), to display the image. For immediate display, the recipe createdlook 3D LUT, (“look 3D LUT”), is combined with the device dependent 3DLUT, referred to as (“device 3D LUT”) to create a third and different 3DLUT, referred to as (“display 3D LUT”), which will display the “look” ona specific device without altering the original data. The original datashould be maintained and transformations be applied in a forward manner.This ensures that there is no loss to the original data.

Herein the following definitions apply:

-   -   A “Look” is the creative alteration of the captured original        scene image (reality) to invoke an emotion or to emphasize an        idea in the story telling process.    -   A “Recipe” is a computer file that includes all of the user's        input choices (and some default values) that were used to create        the “look” for the scene. It can be sent to another computer        with similar software, which can then apply the recipe to an        image and (on a calorimetrically calibrated output device) see        the same image as the creative author. In the post-production        facility it can be used to produce a 3D lookup table to process        the whole or sequence of scenes.

For example, the recipe includes information that setup the look, suchas emulation parameters, configurations, human readable information thatfacilitates text searching, and information expressed in acinematographer's language (e.g., film stages chain, timing, processes,and principle photography). Other information may be included in therecipe such as binary information that enables tracking a user'sinformation (e.g., author, user's computer information, licenseinformation, and user's system configuration). A user's monitorcalibration information and a user's license level for recipe sharing,such as original author, and last author, may be included. The presentinvention may incorporate read only recipe management that necessitateinputting a password; recipe integrity checks that verify whether therecipe has been modified outside of the application; and/or recipeauthenticity checks that verify whether the original intent has beenmodified by other users.

Referring to FIG. 1, a Look Management System (LMS) 100 communicates thecreative intent of the originator/creator to persons in the motionpicture production chain that need to understand and react to the “look”of the project. In one exemplary embodiment, an industry standardscanner 110 scans a film element 105. The original scene could also becaptured by a digital camera device (115) or it can be constructed ofcomputer-generated images (CGI) (120). The image is introduced into aLook Management Engine (LME) (130) where the creative changes can bemade. LME 130 is driven by one of several originators/creators 125; forexample, a Director of Photography (DoP), a producer, a director, acolorist, etc. The output images can be displayed on a display device140, such as a digital Projector or CRT; alternatively it can be storedas a digital master 145, which can be recorded by a film recorder (notshown) and printed as film 150 for projection display.

One illustrative software overview for LMS 100 is shown in FIG. 2. Usersof the software interact with a graphical user interface (GUI) (230) forall their choices. Alternatively, other possibly remote users cancommunicate by sending a “recipe” 225, which is a file that contains theinstructions to the software about the changes to an image. Recipe 225is used as an input to a script generator 235, which interprets therecipe 225 and generates a script (245) that is a logical sequence oftransformation that will result in the perturbation of the image intothe desired “look”. A processing engine (260) takes the script as inputand processes image pixels (255), which are input (250) into software250 that includes a plurality of image source types and metadata (e.g.,DPX files, digital images). Each image source type has an associatedsource reader (255) to properly input the image. The Processing Engine(260) produces a math model in color science language and shown in FIG.4.

Referring to FIG. 4, a math model (410) that includes color sciencelanguage is created from the recipe (405). Math model 410 executes in anumber of ways. For example, a three-dimensional look-up table, 3D LUT,(415) performs calculations and transforms upon the image. This processspeeds up the transformation since only the points in 3D LUT 415 need tobe calculated through the complete math model 410. The image isprocessed through 3D LUT 415 by either a software interpolationalgorithm or an interpolation algorithm used as hardware code 430. Oneexample of hardware code 430 is FPGA code, which is an algorithm used tointerpolate a 3Dlut in hardware. The 3D LUT is created from the colorscience, found in math model 410. The implementation processing is notlimited to using 3D LUT 415; each pixel can be processed either inscript processing software (420) or wired in hardware code (425) forenhanced processing speed. The script processing software 420 enablesplatform independent processing.

Referring again to FIG. 2, the processing engine (260) generates imagesthat incorporate the desired look and also transforms the image into theproper digital code values for displaying on properly calibrated displaydevices (265). Output device manager (240) communicates an imagetransform to the script generator 235, which transmits metadata aboutthe display device 265 such that the script generated will faithfullyrender the image on the display device 265. Alternatively, a digitalfilm recorder (not shown in FIG. 2) writes the data, without the displaytransform, to film for subsequent printing and display. LMS simulationengine (220) generates recipe 225. LMS simulation engine (220) takes asinput the user choices from GUI (230) and data from LMS data reader(215) to produce a recipe 225 that associates the user's choices withLMS color science data (210) generated by LMS data creator (205).

The total of the possible inputs and outputs for any subsystem and themethod for moving image data through the processing chain is the LookManagement System. The software that takes the users input andinterprets that input into a recipe and then a mathematical model of thedesired image chain is the look management engine.

Referring to FIG. 3, there are several possible 3D LUTs in theprocessing pathway. In FIG. 3, an example of one possible scenario isshown. Multiple input source color spaces (305), including DPX files301, digital still camera 302, computer generated images (CGI) 303, andother scanned film data 304 are associated with their correspondingmetadata (350), which enables selection of a proper 3D LUT(1) (310) toprocess the image. Several 3D LUTs(1) correspond to the input sourcecolor spaces 305, including 3DLUT(1) for DPX 311, 3D LUT(1) for digitalstill camera 312, 3D LUT(1) for CGI 313, and 3D LUT(1) for scanned film314.

A LMS user (325) generates a recipe (320) which is used to create a“look” 3D LUT(2) (315) in the script generator (235) and processingengine (260), discussed earlier and shown in FIG. 2. A display device(345) is chosen and with the use of display calibration tools (330), adisplay device 3D LUT(3) (335 and/or 340) is created. 3D LUT(3) 335corresponds to display device's color space exhibited by a monitor. 3DLUT(3) 340 corresponds to display device's color space exhibited by adigital projector. The total rendering of the images from the variousinput source color spaces (305) can be done in one 3D LUT by combiningan input source 3D LUT(L) with a “look” 3D LUT(2) and a display device3D LUT(3). Such a combined 3D LUT (350) should preferably be done inproper sequential order to maintain the accuracy of the math model 410,shown in FIG. 4.

The LME 100 can be used at different phases of the production cycle.First, in the pre-production subsystem, the LMS can communicate thecreative intent even before the project filming begins. Referring toFIG. 5, a block diagram shows one embodiment of the use of LME 100 inpre-production. A scene (505) is captured on a photographic medium ordevice (510) by a cinematographer, director of production or othercreator/originator. If the medium is film, a standard calibrated scan orpreferably a “one light scan” (520) (a scan where the scanner isspecifically set up in a calibrated mode to capture the largest range offilm density that the characteristics of the scanner allow) is input toLME (530). Alternatively, a still image from digital camera or scannedfilm can be used as an input source 525. The user can produce manydifferent scenarios of the film chain (535) and display them on adisplay device (555 and/or 560). Different scenarios can be choices offilm types, exposure conditions, use of filters and process changes andother user inputs that alter the look of the image. Exposure conditionscan be shutter or aperture control to alter the exposure to the film ordigital camera, also light altering entities such as camera filters andlighting gels. Iteratively, the user can narrow down the choices untilhe is satisfied with the image's look. This look can then be distributedto the major principles in the project to communicate the creativeintent of the upcoming production.

In a production subsystem, where film is shot on a day-to-day basis, thesame scenario, as shown in FIG. 5 pre-production exists. However, someof the film from the daily production shoot can be scanned and inputinto the LME 530 to monitor and communicate to the production team. Arecipe 532 or a rendered image can also be transmitted to a colorist ata film laboratory or to a telecine colorist in a digital post-productionhouse for a reference while producing a daily image set. In production,where a daily image sequence is output not to a film print, but to avideo medium (such as, tape or DVD, etc.) the present invention enablesthe creative “look” to be put into the first images coming back from thetelecine scans, by rendering the images through a “look” 3D LUT with thecorresponding display device 3D LUT. Consequently, with the presentinvention one can easily add the creative “look” using a 3D LUT (or apixel-by-pixel software calculation), and deliver daily images with thedesired look added.

Referring to FIG. 6, a film laboratory post-production subsystem isshown as alternative embodiment. LME 625 is intended for projects thatonly use film products in the imaging chain (as opposed to a hybrid offilm and digital post-production or digital only post-production). LME625 can show a cinematographer (or other creative) what look can beexpected from the film exposure and processing choices selected. In thismanner, the initial testing time is greatly decreased since many of thescenarios can be emulated in software to arrive at a “look.”Communication with the laboratory can be with printed images renderedwith a recipe or electronic images rendered with a recipe. In FIG. 6, ascene (605) is photographed on film (as either a still image (606) ormotion film image (635)) and processed in the laboratory. Alternatively,a digital image (610) from a digital camera 603 can be used. The scanfrom a still film scanner (615) is input (620) into the LME (625). Themotion film images (635), exposed with their criteria (630), areprocessed at laboratory (640) and scanned (645) to generate an industrystandard file. A cinematographer (650) oversees the creative “look” byinitially creating the “look,” then sharing this “look” with thelaboratory 640. The sharing can occur via a thermal print, ink jet printor an electronic display. Collaborative issues such as film choice(655), processing conditions (660), printing conditions, exposure andfilter conditions (630) and selected display type (665,670) arecommunicated to persons or automated devices in the laboratory 640.

Referring to an illustrative digital post-production subsystem shown inFIG. 7, the present invention will have some degree of digital imagerendering in the imaging chain. As in previously discussed subsystemsfor the present invention, an initial image for input into a LME 730 canbe images derived from scanned film, CGI files, digital still cameras orother images having the following formats: JPEG, BMP, TIFF etc. Once afilm is scanned (710) and stored as an industry standard DPX file (orother current and future industry standard formats), it can be loadedinto the LME (730), such that a creator/originator can generate a “look”for the image (745). A proofing print can be generated (755) to helpvisually communicate the “look.” LME 730 creates a 3D LUT, which can beused to render the image stream in color correction software (750) or inhardware. The 3D LUT (or a recipe) can be transmitted to a data-to-datacolor grading system (725), such as DaVinci™ or Pandora™, whichinterpolates the data through the 3D LUT. The 3D LUT can be transmittedto an external (or internal) hardware interpolator (720) to render theimage. The rendered image can be further fine-tuned in another colorgrading operation (780), or recorded to film (775) on a film recorder(770). In this manner, the original film scan can be left undisturbed onthe path to the film recorder or other output digital formats (760),such as VCR, DVD etc. The main “look” is provided by the 3D LUT from theLME 730 and other color changes can be implemented through thedata-to-data color correctors and other effects processors. Theseeffects are stored as an edit decision list; this edit decision list,along with the 3D LUT, can completely render an original scan to thefinal output in a single pass without requiring storage of anyintermediate data files.

A third alternative embodiment of a digital post-production subsystem isshown in FIG. 8. Film (805) is scanned via scanner 810 to producedigital files that contain the filmed image. Alternatively, an originaldigital image (815) can be used. In this embodiment for the presentinvention, there are at least two paths. In path A, a recipe or 3D LUTfrom LME (825) is passed to a hardware digital rendering box (840) (orsoftware) which only has the “look” 3D LUT for rendering to filmrecorder output, or the “look” 3D LUT is combined with an output display3D LUT which includes display device characteristics as well ascharacteristics of emulated print material color and tone scales.Utilizing path A, no further color correction is required to output adesired image with the “look” to film, or any digital display device.

Utilizing path B, an output of a hardware render box (830) is directedto a data-to-data color corrector (835). A 3D LUT in the hardware renderbox (830) only needs to be the “look” 3D LUT to impart the look beforefurther color correction. After the data-to-data color grader (835), theimage is rendered in a second hardware render box (840) which containsonly the 3D LUT that takes the image data and renders it to a displaydevice (850, 855) having associated display device characteristics aswell as characteristics of emulated print material color and tonescales. In this embodiment, if the output is to the film recorder, thesecond hardware render box (840) can be skipped, or it could contain asecond “look” 3D LUT for special looks.

The invention has been described with reference to a preferredembodiment. However, it will be appreciated that a person of ordinaryskill in the art can effect variations and modifications withoutdeparting from the scope of the invention.

Parts List

-   100 look management system-   105 film-   110 scanned film-   115 digital still image-   120 computer generated image (CGI)-   125 originators/creators-   130 look management engine-   135 color correctors-   140 digital projector-   145 digital master-   150 film output-   205 LMS Data Creator-   210 LMS Data-   215 LMS Data Reader-   220 LMS Simulation Engine-   225 LMS Recipe-   230 Graphical User Interface (GUI)-   235 LMS Script Generator-   240 Output device manager-   245 LMS Script-   250 Input Images and Metadata-   255 Image Source Reader-   260 LMS Processing Engine-   260 Output Device (CRT, Digital Projector, Film recorder etc.)-   305 Input Image Source color space-   310 3D-LUT(1) to support input image source type-   315 3D-LUT(2) created from LMS “look”-   320 LMS recipe-   325 LMS user input choices-   330 Display Device calibration tools-   335 3D-LUT(3) for a specific calibrated monitor display device-   340 3D-LUT(3) for a specific calibrated projector display device-   345 Output Display Devices-   350 Metadata for the Input Image source color space-   355 Combined 3D LUT (3D LUT(1)+(2)+(3))-   405 LMS recipe-   410 Math Model from LMS recipe-   415 3D-LUT implementation of LMS recipe-   420 Math operations in script of LMS recipe-   425 Math operations wire in hardware of LMS recipe-   430 Hardware Code (i.e., FPGA code)-   505 Original Scene-   510 Test shoot (film or digital capture)-   515 Cinematographer (or creative user)-   520 Motion picture film scan-   525 Still picture film scan-   530 Look Management Engine-   535 User choices in the photographic image chain-   540 Film Projector-   545 3D-LUT to render data-   550 Hardware digital rendering box-   555 Calibrated monitor-   560 Digital projector-   605 Original Scene-   606 Still film capture-   610 Digital camera capture-   615 Still film scanner-   620 Image input to Look Management Engine-   625 Look Management Engine-   630 User specified film exposure conditions-   635 Motion picture camera and film-   640 Look Management System used in the Laboratory-   645 Post Production film scan-   650 Director of Photography (DoP) or creative user-   655 LMS process database-   660 Process details-   665 “Look” on a calibrated display-   670 Fine tuned “Look” on a calibrated display-   705 Motion image origination images-   710 Film scanner-   715 Industry standard DPX file of image-   720 3D LUT hardware interpolator-   725 Industry standard color grading unit-   730 Look management engine-   735 Still digital camera input-   740 Other still image input-   745 User look generation (GUI choices)-   750 Industry standard color corrector-   755 Hardcopy proofing prints-   760 Electronic distribution media-   765 Digital Projector-   770 Film recorder-   775 Film output-   780 Alternative color grading-   805 Film input-   810 Film scanner-   815 Digital Image input-   820 Industry standard color corrector-   825 Look Management Engine-   830 3D LUT hardware interpolator-   835 Industry standard color grading unit-   840 3D LUT hardware interpolator-   845 Film recorder-   850 Electronic distribution output masters-   855 Digital Projector-   860 Output film record

1. A method for communicating and preserving creative intent within amotion picture production chain including a production stage duringwhich the motion picture is shot and at least one of a subsequentlaboratory or post production stage during which the motion picture isprocessed, said method comprising the steps of: (a) capturing anoriginal image of a scene during the production stage; (b) generating alook representative of a creative intent, wherein the look is a digitalrepresentation of a creative alteration of the captured original sceneimage; (c) applying the look to the captured original scene image andconfirming approval of the look during the production stage; (d)capturing motion picture footage of the scene during the productionstage; (e) storing a recipe that creates a math model that correspondsto the look; (f) communicating the recipe from the production stage toat least one of the subsequent laboratory and post production stages;and (g) utilizing the recipe during at least one of the subsequentlaboratory and post production stages to apply the look to the capturedmotion picture footage.
 2. The method as claimed in claim 1 wherein themotion picture footage is developed during the laboratory stage and therecipe is utilized in step (g) to control at least one parameter of thedevelopment process.
 3. The method as claimed in claim 1 wherein thelook invokes an emotion or emphasizes an idea in a story tellingprocess.
 4. The method as claimed in claim 1 wherein the recipe is acomputer file containing all the user input choices and instructionsthat were used to create the look for the scene.
 5. The method asclaimed in claim 1 wherein a stream of images is captured in step (a)and the look is applied to the stream of images.
 6. The method asclaimed in claim 5 wherein the stream of images is divided into scenesand different looks are applied to different scenes.
 7. The method asclaimed in claim 1 wherein the creative alteration generated in step (b)is a modification to the color and/or tone scale obtained by usingalternative film stocks, exposures, filtration, processing, colortiming, telecine controls or other changes to the scene image.
 8. Themethod as claimed in claim 1 wherein the recipe is utilized in step (g)to generate a 3D look LUT that embodies the look that is applied to thecaptured motion picture footage.
 9. The method as claimed in claim 8wherein the recipe is utilized in step (g) to generate a 3D device LUTthat emulates a particular print stock on a particular display device.10. The method as claimed in claim 9 wherein the 3D look LUT is combinedwith the 3D device LUT to generate a 3D display LUT that will displaythe look on a specific device.
 11. The method as claimed in claim 1wherein the recipe is communicated between stages in industry standardCineon 10 bit log (DPX) format.
 12. The method as claimed in claim 1wherein the original image is captured in step (a) on film andsubsequently scanned and the look generated in step (b) is applied instep (c) to the scanned film image.
 13. The method as claimed in claim 1wherein the original image is electronically captured as a digital imagein step (a) by a digital camera and the look generated in step (b) isapplied in step (c) to the digital image.
 14. The method as claimed inclaim 13 wherein the digital camera is a digital still camera.
 15. Themethod as claimed in claim 1 wherein hardware digitally renders thecaptured motion picture footage through a 3D look LUT that embodies thelook.
 16. The method as claimed in claim 1 wherein the recipe isutilized in step (g) to generate a script that embodies the look that isapplied to the captured motion picture footage on pixel-by-pixel basis.17. A method for communicating and preserving creative intent within amotion picture production chain including a production stage duringwhich the motion picture is shot and at least one of a subsequentlaboratory or post production stage during which the motion picture isprocessed, said method comprising the steps of: (a) capturing anoriginal sequence of images representative of a scene during theproduction stage; (b) generating a look representative of a creativeintent, wherein the look is a digital representation of a creativealteration of the captured original scene image sequence; (c) applyingthe look to the captured original scene image sequence and confirmingapproval of the look during the production stage; (d) capturing motionpicture footage of the scene during the production stage; (e) storing arecipe that creates a math model that corresponds to the look; (f)communicating the recipe from the production stage to at least one ofthe subsequent laboratory and post production stages; and (g) utilizingthe recipe during at least one of the subsequent laboratory and postproduction stages to apply the look to the captured motion picturefootage.
 18. A computer storage medium having instructions storedtherein for causing a computer to perform the method of claim
 1. 19. Acomputer storage medium having instructions stored therein for causing acomputer to perform the method of claim
 2. 20. A computer storage mediumhaving instructions stored therein for causing a computer to perform themethod of claim
 3. 21. A computer storage medium having instructionsstored therein for causing a computer to perform the method of claim 4.22. A computer storage medium having instructions stored therein forcausing a computer to perform the method of claim
 5. 23. A computerstorage medium having instructions stored therein for causing a computerto perform the method of claim
 6. 24. A computer storage medium havinginstructions stored therein for causing a computer to perform the methodof claim
 7. 25. A computer storage medium having instructions storedtherein for causing a computer to perform the method of claim
 8. 26. Acomputer storage medium having instructions stored therein for causing acomputer to perform the method of claim
 9. 27. A computer storage mediumhaving instructions stored therein for causing a computer to perform themethod of claim
 10. 28. A computer storage medium having instructionsstored therein for causing a computer to perform the method of claim 11.29. A computer storage medium having instructions stored therein forcausing a computer to perform the method of claim
 12. 30. A computerstorage medium having instructions stored therein for causing a computerto perform the method of claim
 13. 31. A computer storage medium havinginstructions stored therein for causing a computer to perform the methodof claim
 16. 32. A computer storage medium having instructions storedtherein for causing a computer to perform the method of claim
 17. 33. Asystem for communicating and preserving creative intent within a motionpicture production chain including a production stage during which themotion picture is shot and at least one of a subsequent laboratory orpost production stage during which the motion picture is processed, saidmethod comprising the steps of: (a) means for capturing an originalimage of a scene during the production stage; (b) means for generating alook representative of a creative intent, wherein the look is a digitalrepresentation of a creative alteration of the captured original sceneimage; (c) means for applying the look to the captured original sceneimage and confirming approval of the look during the production stage;(d) means for capturing motion picture footage of the scene during theproduction stage; (e) means for storing a recipe that creates a mathmodel that corresponds to the look; (f) means for communicating therecipe from the production stage to at least one of the subsequentlaboratory and post production stages; and (g) means for utilizing therecipe during at least one of the subsequent laboratory and postproduction stages to apply the look to the captured motion picturefootage.
 34. The system as claimed in claim 33 wherein the motionpicture footage is developed during the laboratory stage and the recipeis utilized in step (g) to control at least one parameter of thedevelopment process.
 35. The system as claimed in claim 33 wherein thelook invokes an emotion or emphasizes an idea in a story tellingprocess.
 36. The system as claimed in claim 33 wherein the recipe is acomputer file containing all the user input choices that were used tocreate the look for the scene.
 37. The system as claimed in claim 33wherein a stream of images is captured in step (a) and the look isapplied to the stream of images.
 38. The system as claimed in claim 37wherein the stream of images is divided into scenes and different looksare applied to different scenes.
 39. The system as claimed in claim 33wherein the creative alteration generated in step (b) is a modificationto the color and/or tone scale obtained by using alternative filmstocks, exposures, filtration, processing, color timing, telecinecontrols or other changes to the scene image.
 40. The system as claimedin claim 33 wherein the recipe is utilized in step (g) to generate a 3Dlook LUT that embodies the look that is applied to the captured motionpicture footage.
 41. The system as claimed in claim 40 wherein therecipe is utilized in step (g) to generate a 3D device LUT that emulatesa particular print stock on a particular display device.
 42. The systemas claimed in claim 41 wherein the 3D look LUT is combined with the 3Ddevice LUT to generate a 3D display LUT that will display the look on aspecific device.
 43. The system as claimed in claim 33 wherein therecipe is communicated between stages in industry standard Cineon 10 bitlog (DPX) format.
 44. The system as claimed in claim 33 wherein theoriginal image is captured in step (a) on film and subsequently scannedand the look generated in step (b) is applied in step (c) to the scannedfilm image.
 45. The system as claimed in claim 33 wherein the originalimage is electronically captured as a digital image in step (a) by adigital camera and the look generated in step (b) is applied in step (c)to the digital image.
 46. The system as claimed in claim 45 wherein thedigital camera is a digital still camera.
 47. The system as claimed inclaim 33 wherein hardware digitally renders the captured motion picturefootage through a 3D look LUT that embodies the look.
 48. The system asclaimed in claim 33 wherein the recipe is utilized in step (g) togenerate a script that embodies the look that is applied to the capturedmotion picture footage on pixel-by-pixel basis.